Auli’i Cravalho — Experimental Silhouette by Antonio Marras

Sculptural top, airy volume.

Many fashion outlets listed this look among the “most unusual” of the evening.

This dress is built on the opposite idea of the typical “drama at the bottom.” Here, the focus shifts upward: a sculptural bodice paired with a classic voluminous skirt.

This approach can be described as structured bodice + classic tulle ball gown. The top becomes the key design element — complex and expressive — while the skirt remains soft and romantic.

The bodice is strapless, with a clearly defined sweetheart neckline. The cups are designed in the form of volumetric roses, which immediately set an unusual character for the entire construction. At the same time, this is not just a decorative solution, but a full sculptural form: inside there is a dense corset base, and on top the fabric is draped to form floral volumes. It is important that the cups here are not created by pattern lines — they are modeled as independent three-dimensional elements.

For creating such a bodice, the technology from the course “Corset with 2 Curves” is suitable. From the set “Corset Pattern PRO. Sweetheart Neckline. Two Curves”, select a pattern in your size.

The waistline is emphasized and reinforced with a rigid construction resembling a peplum. This element plays a key role: it creates a “cinched” effect, enhances the contrast between the top and the skirt, and visually makes the waist narrower.

The construction of such a peplum can be created based on the course “Wedding Dress with Detachable Full Skirt”, in the section “Full Padding. Drafting, Sewing, Decorating” it is shown how to create individual volumetric shapes.

The skirt is made using a classic ball gown technique from multi-layered tulle. A large radius and soft distribution of the material create a feeling of lightness and airiness. In contrast to the structured top, there is no rigid form here at all — the skirt works due to volume and transparency of the layers.

For creating such a skirt, the courses “Lace Bodice and Full Skirt Wedding Dress” and “Bustier Dress with Multi-Layered Tulle Skirt” will help you.

Decoration is concentrated in the transition zone between the bodice and the skirt. Embroidery along the waistline, supplemented with feather elements, creates a smooth transition from the dense, architectural part to soft tulle. A gradient effect appears — from structure to lightness.

To learn how to create couture embroidery, we have special courses for you: “Professional Decoration” and “Professional Luneville/Tambour Embroidery”.

From the point of view of proportions, the dress is built according to a classic scheme: visually widened shoulders (due to volumetric roses), a narrow waist, and a sharp expansion of the skirt. This forms an “hourglass + ball gown” silhouette, which remains one of the most expressive in evening fashion.

Compositionally, the opposite technique is used here compared to Teyana Taylor’s dress: “weight on top + volume below.” The top looks heavy and sculptural, while the bottom is light despite its volume. It is this contrast that makes the look memorable.

The dress looks unusual for several reasons at once: the cups are made as realistic roses, the top acquires an almost architectural character, and the bottom remains traditional. The contrast between the sculptural form and soft tulle enhances the overall impression.

As a result, we have an excellent example of a modern approach to an evening dress. Three key techniques can be highlighted here: sculptural modeling of the bodice, where volume is created by form rather than pattern; contrast of constructions — a rigid top and a soft bottom; and shifting the accent to the bust area instead of the usual distribution of decoration along the entire length of the garment.